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Bibliografias temáticas / Burma in art

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Literatura científica selecionada sobre o tema "Burma in art"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 1 de fevereiro de 2022

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Artigos de revistas sobre o assunto "Burma in art"

1

Bernier, Ronald M., e Paul Strachen. "Imperial Pagan: Art and Architecture of Burma". Journal of the American Oriental Society 111, n.º 4 (outubro de 1991): 810. http://dx.doi.org/10.2307/603426.

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Colman, Xan, e Tamara Searle. "Performing Resistance in Burma". TDR/The Drama Review 53, n.º 1 (março de 2009): 141–46. http://dx.doi.org/10.1162/dram.2009.53.1.141.

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Art—or at least the kind we most like to write about—is almost always political, whether it is inter/national or personal; and though TDR has already taken this up in its “War and Other Bad Shit” issue, the topic remains center stage. In his review of Dutch theatre troupe Dood Paard's medEia, Jacob Gallagher-Ross notes the emergence of “a new age of the chorus” in which spectatorship becomes inseparable from paralyzed witnessing and Medea's tragedy is reconceived as a metaphor for the West's tragic relations with the East. Laurietz Seda explores Guillermo Gómez-Peña's recent performance/installation Mapa/Corpo 2: Interactive Rituals for the New Millennium, a fluid piece that, like much of the artist's recent work, addresses the xenophobia and “war on difference” that underlies the US's ongoing War on Terror. The Burmese stand-up trio the Moustache Brothers is the subject of Xan Colman and Tamara Searle's personal account of how performance can be both art and resistance in a contradictory and charged political regime.

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Pearce, R. L. "SH07ï¿½COATES AND DUNLOP - ART PATRONS OF THE BURMA RAILROAD". ANZ Journal of Surgery 79 (maio de 2009): A75. http://dx.doi.org/10.1111/j.1445-2197.2009.04931_7.x.

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Robinne, François. "Memorial Art as an Anthropological Object (Chin State of Burma)". Journal of Burma Studies 19, n.º 1 (2015): 199–241. http://dx.doi.org/10.1353/jbs.2015.0001.

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Cho, Violet. "Noted: Frontline humour takes on generals". Pacific Journalism Review : Te Koakoa 15, n.º 1 (1 de maio de 2009): 242–43. http://dx.doi.org/10.24135/pjr.v15i1.979.

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This is is a new political cartoon collection by Burmese artist and cartoonist Harn Lay. It is a revealing insight into Burma—where political resistance and traditional art and performance meet. The book demonstrates and is part of the ongoing resistance to an unjust abuse of power. Lay portrays key issues such as political prisoners, extended house arrest of pro-democracy icon Aung San Suu Kyi, the military’s response to sanctions, Burma-ASEAN relations and business deals with neighbouring countries.

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Kowitt, Sarah Dorothy, Dane Emmerling, Diane Gavarkavich, Claire-Helene Mershon, Kristin Linton, Hillary Rubesin, Christine Agnew-Brune e Eugenia Eng. "A Pilot Evaluation of an Art Therapy Program for Refugee Youth From Burma". Art Therapy 33, n.º 1 (2 de janeiro de 2016): 13–20. http://dx.doi.org/10.1080/07421656.2015.1127739.

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Mufti, Nasser. "Kipling’s Art of War". Nineteenth-Century Literature 70, n.º 4 (1 de março de 2016): 496–519. http://dx.doi.org/10.1525/ncl.2016.70.4.496.

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Nasser Mufti, “Kipling’s Art of War” (pp. 496–519) This essay looks at the British empire’s most ambitious years, when it saw Britain and its settler colonies as belonging to a global nation-state, most commonly referred to as “Greater Britain.” The apex of this imperial-national imagination came with the outbreak of the Second Anglo-Boer War, which jingoists like Arthur Conan Doyle and Rudyard Kipling celebrated as a civil war because it was seen to be a conflict between the “blood brotherhood” of empire: Britons and Boers. Hence the characterization of the Boer War as “the last of the gentleman’s wars” or “a sahibs’ war,” because it was said to be fought between the civilized fellow-citizens of the British empire. But Kipling also had to confront the fact that British and Boer tactics were decidedly “ungentlemanly” at the war front. I turn to his short story “A Sahibs’ War” (1901), which is especially concerned about the “gentleman’s war” in South Africa looking identical to anticolonial wars in Afghanistan and Burma, which in Kipling’s mind were barbaric frontier conflicts. Kipling registers this ambivalence between civil and colonial war in the language of his story, which strategically puns across English, Afrikaans and Urdu/Hindi. These translingual puns make legible and sensible the tensions between the intra-national and extra-national, domestic and foreign, civil and imperial that characterized Greater British discourse at the turn of the century.

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Hasinoff, Erin L., e Laurel Kendall. "Making spirits, making art, Nat carving and contemporary painting in pre-transition Myanmar (Burma)". Material Religion 14, n.º 3 (3 de julho de 2018): 285–313. http://dx.doi.org/10.1080/17432200.2018.1485428.

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Stadtner, Donald M. "A Fifteenth-Century Royal Monument in Burma and the Seven Stations in Buddhist Art". Art Bulletin 73, n.º 1 (março de 1991): 39. http://dx.doi.org/10.2307/3045777.

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Miksic, John N. "Burma - Pagan: Art and Architecture of Old Burma. By Paul Strachan. Whiting Bay, Arran, Scotland: Kiscadale Publications, 1989. [Also published by University of Hawaii Press under the title: Imperial Pagen: Art and Architecture of Old Burma.] Pp. x, 159. Plates, Diagrams, Notes, Bibliography, Index." Journal of Southeast Asian Studies 21, n.º 2 (setembro de 1990): 479–80. http://dx.doi.org/10.1017/s0022463400003556.

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Teses / dissertações sobre o assunto "Burma in art"

1

Joseph, de Saram Amila Joseph. "The earth goddess in the art and culture of Burma, Thailand, and Laos". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1321983099.

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2

Galloway, Charlotte Kendrick, e charlotte galloway@anu edu au. "Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)". The Australian National University. Faculty of Arts, 2007. http://thesis.anu.edu.au./public/adt-ANU20071112.160557.

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Buddhism is an integral part of Burmese culture. While Buddhism has been practiced in Burma for around 1500 years and evidence of the religion is found throughout the country, nothing surpasses the concentration of Buddhist monuments found at Bagan. Bagan represents not only the beginnings of a unified Burmese country, but also symbolises Burmese 'ownership' of Theravada Buddhism. ¶ While there is an abundance of artistic material throughout Burma, the study of Burmese Buddhist art by western scholars remains in it infancy due to historical events. In recent years, opportunities for further research have increased, and Bagan, as the region of Buddhism's principal flowering in Burma, is the starting point for the study of Burmese Buddhist art. To date, there has been no systematic review of the stylistic or iconographic characteristics of the Buddhist images of this period. This thesis proposes, for the first time, a chronological framework for sculptural depictions of the Buddha, and identifies the characteristics of Buddha images for each identified phase. The framework and features identified should provide a valuable resource for the dating of future discoveries of Buddhist sculpture at Bagan. ¶ As epigraphic material from this period is very scant, the reconstruction of Bagan's history has relied heavily to this point in time on non-contemporaneous accounts from Burma, and foreign chronicles. The usefulness of Bagan's visual material in broadening our understanding of the early Bagan period has been largely overlooked. This is addressed by relating the identified stylistic trends with purported historical events and it is demonstrated that, in the absence of other contemporaneous material, visual imagery is a valid and valuable resource for both supporting and refuting historical events. ¶ Buddhist imagery of Bagan widely regarded to represent the beginnings of 'pure' Theravada practice that King Anawrahta, the first Burman ruler, actively encouraged. This simplistic view has limited the potential of the imagery to provide a greater understanding of Buddhist practice at Bagan, and subsequently, the cross-cultural interactions that may have been occurring. In this light the narrative sculptural imagery of the period is interrogated against the principal Mahayana and Theravada texts relating to the life of Gotama Buddha. This review, along with the discussion regarding potential agencies for stylistic change, reveals that during the early Bagan period, Buddhism was an eclectic mix of both Theravada and Mahayana, which integrated with pre-existing spiritual traditions. Towards the end of the early Bagan period, trends were emerging which would lead to a distinctly Burmese form of Buddhist practice and visual expression.

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Galloway, Charlotte Kendrick. "Burmese Buddhist imagery of the early Bagan period (1044-1113)". Connect to this title online, 2006. http://thesis.anu.edu.au/public/adt-ANU20071112.160557/index.html.

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Ker, Yin. "Figurer, voir et lire l’insaisissable : la peinture manaw maheikdi dat de Bagyi Aung Soe (1923/24–1990)". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040144.

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Héritier de l’universalisme humaniste de Rabindranath Tagore par sa formation à Śāntiniketan en Inde, le ditpère de l’art moderne birman Bagyi Aung Soe (1923/24–1990) se consacra à figurer les réalités ultimes enfonction des enseignements bouddhiques. Pour ce faire, il mit au point un langage pictural qu’il baptisa lapeinture « manaw maheikdi dat » qui signifie la création artistique par la culture mentale. Ses référencesvisuelles, variant de la physique à l’ésotérisme bouddhique, de la culture populaire à la poésie, comprennent toutce qui fut à sa portée intellectuelle et spirituelle dans la Birmanie socialiste militaire de 1962 à 1988. Soninsistance sur la somme des héritages propres à cet espace-temps, de même que son dépassement descloisonnements conceptuels selon les disciplines, les frontières nationales ou les divisions chronologiques, exigeun récit conçu au regard des significations contextuelles, un récit adapté et affranchi du modèle prétendumentinternational de l’art euraméricain. Afin de proposer un récit sur comment il compta rendre manifestel’insaisissable selon les circonstances propres au contexte de sa vie, nous mettons l’accent sur les conditionsaccueillant la genèse et la diffusion de cette production artistique dite « la plus moderne de l’art moderne » enraison de sa dimension transnationale et transhistorique. À partir d’une sélection parmi plus de quatre milleoeuvres et de centaines de témoignages écrits et oraux recueillis, nous examinons non seulement la fabrication decette peinture qui reste aussi non étudiée en Birmanie qu’inconnue de la scène internationale, mais aussi lesmanières dont nous pouvons la lire et la voir
A student at Rabindranath Tagore’s ashram in Śāntiniketan, India, Myanmar’s “father of modern art” BagyiAung Soe (1923/24–1990) embraced his Indian gurus’ concept of art and the artist. In the spirit of the laureate’shumanist universalism, he strove to picture Buddhist teachings. His signature idiom christened “manawmaheikdi dat”, which has yet to be studied in Myanmar and is virtually unknown at the international level, reliedon meditation to achieve advanced mental power in order to picture the most elemental components of allphenomena, and its visual references included all that was possibly accessible under socialist rule in Burma(1962–1988). With little regard for artistic conventions and categorisations according to discipline, nation andchronology, Aung Soe drew from the sum of artistic, intellectual and spiritual traditions defining his space andtime, varying from quantum physics to esoteric Buddhism, from popular culture to poetry. The nature of hisapproach, method and subject matter, coupled with his country’s exceptional circumstances, demands a newnarrative of art that is unfettered by the assumptions inherent to the purportedly international framework ofEuramerican modern art. Focusing on the contextual significances of the genesis and reception of manawmaheikdi dat painting, this dissertation examines the making, the reading and the seeing of this pictoriallanguage whose transnational and transhistorical dimension renders it “the most modern of modern art”. Basedon a selection of the artist’s works and writings, as well as witnesses of his life and practice, we attempt a storyof how he pictured and made manifest the formless on his own terms

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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism". Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.

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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.

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Al, Shomely Karima Mohammed Abdelaziz. "An intimate object : a practice-based study of the Emirati Burqa". Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/36327/.

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This practice-based thesis focuses on the Emirati burqa or ‘mask’, a form of face covering worn by the majority of Emirati women in the United Arab Emirates until the late 1960s that reveals the eyes but does not cover the hair or body. Framed by Daniel Miller and Aida Kanafani’s theories of material culture and embodiment that focus on dress as an intimate sensory object, this practice-based thesis is the first in-depth study of the Emirati burqa that engages with the histories and materiality of the burqa as an intimate object once made and worn by Emirati women. At the core of this thesis is women’s practice: the practices of women burqa makers, the diverse female practices of burqa wearing and my practice as a woman artist from the UAE. Through experiments with traditional craft materials, inscription methods, workshop initiatives, film, photography and installation, my engagement is with performing the material culture of the female burqa as a response to its disappearing practices and its previously little recorded history. The thesis first analyses the history of the burqa face covering in the Arabian peninsula through a specific focus on the written and visual accounts of mid-nineteenth and mid-twentieth-century British travellers in Arabia. It then examines and records the material craft of Emirati burqa-making based upon interviews with burqa makers and textile producers and accompanying ethnographic fieldwork conducted in the UAE and India. This includes photographic documentation of the processes involved in the production of the burqa textile, a study of burqa manufacturing brands and packaging, and an analysis of the material construction of the burqa and how it is worn in the UAE. Based on interviews in the UAE, Bahrain and Qatar and a variety of visual and textual sources, the thesis identifies the different types of Emirati burqa in relation to age, status, and regional identities. It further shows that the Emirati burqa differs from those worn in the neighbouring Gulf States of Bahrain, Qatar, Oman and Saudi Arabia, and focuses on burqa wearing practices and associated uses of the burqa textile in the UAE. Engaging with these research findings, the culmination of the thesis is the body of art works exhibited in the 2014 London exhibition, ‘An Intimate Object’, that re-animates the burqa as a living object with its own history and new contemporary meanings. Focusing on the significance of the body and senses in knowledge production, the art practice shows the burqa has ‘a voice’ in a conversation that draws upon past traditions referencing protection and its value as a personal and precious object. The burqa speaks, its indigo residue bleeds as an active witness to its lost past. It also plays a part in rediscovery or keeping the past of this material object alive through contemporary art practice as an aesthetic and political strategy.

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Rudland, Emily, e emily rudland@netspeed com au. "Political Triage: Health and the State in Myanmar (Burma)". The Australian National University. Research School of Pacific and Asian Studies, 2004. http://thesis.anu.edu.au./public/adt-ANU20070719.123952.

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In 1988, the military government in Myanmar abandoned the socialist ideology and isolationism that had shaped the state since independence, embarking on a transition to an open economy and engagement of the international community. ¶ Where socialism had failed, economic development and partnerships with former insurgent groups became the new strategy to advance the militarys security agenda. The primary goal of the security agenda is to promote state consolidation based on a unitary state structure, and according to military values and interests. However, the militarys goals are antagonistic to much of the countrys population, especially its ethnic minority groups. Consequently, the military lacks moral authority, and is preoccupied with maintaining its power and seeking legitimacy. The state is oriented to regime maintenance rather than policy implementation, leaving the regime without autonomy to pursue policy goals outside of its security agenda. ¶ The changing nature of the state, and state-society relations during the period of transition is revealed by trends in social development. Specifically, this thesis explores these issues through a case study of the health system. One impact of the economic transition and the militarys new nation-building strategy has been the abandonment of social equity as an ideological goal of the state. Even under socialism, state capacity to promote health was weak. In the transitional state, weak state capacity is now combined with a political incapacity of the regime to make public health a priority. In the quest for performance legitimacy, the military government is pursuing a narrow conception of development that values economic growth. Putting the states scarce resources into social development does not fit into this development strategy. Government expenditure on health has declined steadily since 1988, and health bureaucrats struggle to implement government policy. Standards in the public health system are very low, and most people seek health care in the private and informal health sectors. ¶ Therefore, the military regimes inability to achieve state consolidation, which leaves it preoccupied with its own legitimacy crisis, is a significant factor in the inability of the Myanmar state to promote social development. The process of economic transition from a socialist economy has exacerbated this through the withdrawal of the state from financing and delivery of social services, resulting in increasing inequity of access to these services.

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Bryant, Raymond L. "The political ecology of forestry in Burma 1824-1994 /". Honolulu : University of Hawai'i Press, 1997. http://catalogue.bnf.fr/ark:/12148/cb402286793.

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Munier-Gaillard, Cristophe. "L’émergence de l’individu dans la peinture murale bouddhique narrative de Haute-Birmanie (1700-1786)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040220.

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Cette thèse étudie l’apparition, dans la mise en scène picturale des récits bouddhiques du début du 18e siècle, d’hommes et de femmes du peuple, discutant, se querellant, s’aimant, ou simplement dépeints dans leur quotidien, sans rapport avec ces récits dont ils occupent pourtant le premier plan. En parallèle à des personnages hauts en couleurs (fumeurs de narguilé, amateurs d’alcool et de femmes) d’origine indienne, portugaise et métisse, dont les noms propres figurent dans le cartouche des légendes des scènes, et qui caractérisent la production picturale de la région de la Chindwin, des quidams dépeints dans leur quotidien (cavaliers, vachers, chasseurs d’oiseau de mauvais augure, enfants accourus voir le Bodhisatta, hommes montant à un palmier) illustrent, eux, la place de plus en plus grande prise par le cadre de la transposition des récits, c’est-à-dire par la société des peintres. Les premiers donnent lieu à une série de portraits, souvent caricaturaux, et de scènes de genre d’un humour paillard qui témoignent d’un sens de l’observation de la nature humaine, d’autant plus aigu qu’il s’agit d’étrangers. Le propos de ces peintures n’est plus seulement d’édifier le spectateur mais de le surprendre et de le divertir. Les seconds illustrent le goût des peintres pour un quotidien perçu comme exotique du simple fait de sa représentation. Finalement, ce n’est pas à une sécularisation du propos des récits bouddhiques que nous assistons, mais au contraire à leur appropriation, à leur birmanisation, comme le prouveront dès la fin du 18e siècle, les séries de monuments bouddhiques régionaux
This doctoral thesis studies the appearance, in the pictural mise en scène of early 18th century Buddhist narratives, of ordinary men and women discussing, quarelling, loving, or simply depicted in their everyday life, and who occupy the foreground of the narratives though they are not part of them. Together with characters hauts en couleurs (narghile smokers, alcohol and women lovers) of Indian, Portuguese and half-breed origin, whose proper names appear in the cartouche of the captions of the scenes, and who characterize the pictural production of the Chindwin region, are everyday fellows depicted in their daily life (horsemen, cowherds, hunters of ill-omen birds, children running to see the Bodhisatta, men climbing a palm tree). These fellows illustrate the increasingly large place given to the society by the painters. The characters hauts en couleurs give rise to a series of portraits, often of a caricatural inspiration, and to genre scenes of a bawdy humour that reflect a sense of observation of the human nature, all the more accurate as it depicts foreigners. The purpose of the paintings is not just to edify the audience, but also to surprise and amuse it. The fellows illustrate the tendency of the painters to represent life scenes as exotic. Finally we are not witnessing a secularization of the purpose of the Buddhist narratives but, on the contrary, their appropriation and their Burmanization, as shown by the series of regional Buddhist monuments starting from the late 18th century

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Rudland, Emily. "Political triage : health and the state in Myanmar (Burma) /". View thesis entry in Australian Digital Theses, 2003. http://thesis.anu.edu.au/public/adt-ANU20070719.123952/index.html.

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Livros sobre o assunto "Burma in art"

1

Hasson, Haskia. Ancient Buddhist art from Burma. Bangkok, Thailand: White Lotus, 1993.

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2

Schneider-Esleben, Paul. Reiseskizzen Burma, Thailand, Bali. [München]: Hirmer, 1989.

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3

Grandjean, Jean-Pierre. Buddhas of Burma. Boston: Shambhala, 2002.

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4

Pagan: Art & architecture of old Burma. Whiting Bay, Arran: Kiscadale, 1989.

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5

Pagan: Art & architecture of old Burma. Whiting Bay, Arran [Scotland]: Kiscadale, 1989.

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6

Strachan, Paul. Pagan: Art & architecture of old Burma. 2^a ed. Oxford: Kiscadale Pubns, 1996.

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7

Imperial Pagan: Art and architecture of Burma. Honolulu: University of Hawaii Press, 1990.

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8

Pattaratorn Chirapravati, M.L., 1958-, Skilling Peter, Tsuruta Kazuhiro, Asian Art Museum of San Francisco e Asian Art Museum of San Francisco, eds. Emerald cities: Arts of Siam and Burma 1775-1950. San Francisco, Calif: Asian Art Museum--Chong-Moon Lee Center for Asian Art and Culture, 2009.

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9

Jeyya, Kyoʻ. Pranʻ lhanʻ cacʻ meʺ khraṅʻʺ paññā: The art of cross-examination. Ranʻ kunʻ: Ca kāʺ Pro ne su myāʺ Cā pe, 1990.

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10

Ray, Niharranjan. Brahmanical Gods in Burma: A chapter of Indian art and iconography. Singapore: Myanmar Rare Book Publications, 1998.

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Capítulos de livros sobre o assunto "Burma in art"

1

Roof, Lisa, e Mary B. McVee. "The Ant Climbing the Tree". In The Experiences of Refugee Youth from Burma in an American High School, 8–23. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003096467-3.

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Duran, Chatwara Suwannamai. "‘But, We Are Karenni. We Are Not Burmese.’ Historical Contexts and Lived Experiences of Karenni Refugees from Burma". In Language and Literacy in Refugee Families, 39–66. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58756-5_2.

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Bo, Bo. "Raising Xenophobic Socialism against a Communist Threat: Re-reading the Lines of an Army Propaganda Magazine in 1950s Burma". In Cultures at War, editado por Tony Day e Maya H. T. Liem, 171–94. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501721205-008.

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Allen, Gina M., e Jon A. Jacobson. "Ultrasonography: Sports Injuries". In IDKD Springer Series, 229–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71281-5_16.

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AbstractUltrasonography is a valuable imaging method to evaluate for sports injuries. In the upper extremity, rotator cuff evaluation is most common. Other applications include examination of the biceps and subacromial-subdeltoid bursa in the shoulder, biceps, triceps, common extensor tendon and ulnar collateral ligament in the elbow and tendon tear, pulley injury and skier’s thumb in the wrist and hand. In the lower extremity, ankle sprains, muscle injury and groin pain are the most common problems benefiting from imaging, and ultrasound plays a vital role. Tendinopathy, tendon injury and ligament injury are well visualised in the hip, knee, ankle and foot by diagnostic ultrasound.

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Steinberg, David I. "The Crises That Are Burma/Myanmar". In Burma/Myanmar. Oxford University Press, 2013. http://dx.doi.org/10.1093/wentk/9780199981687.003.0003.

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This chapter and those that follow, all written before the change in government based on the elections in November 2010, are left intact to encourage the reader to reflect on how the state was perceived both by its inhabitants and external observers at that time....

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"The Great Silver Reliquary from Śrī Kṣetra: the oldest Buddhist art in Burma and one of the World’s oldest Pāli Inscriptions". In Fruits of Inspiration, 487–518. BRILL, 2001. http://dx.doi.org/10.1163/9789004488397_033.

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Uddin, Nasir. "Who Are the Rohingya?" In The Rohingya, 27–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199489350.003.0002.

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Chapter 2 places the Rohingyas in the historical, political, and cultural context of Burma/Myanmar. Who they are, where did they come from, and how did they appear in the demographic composition of Burma, now Myanmar; and the human geography of Arakan or what is now called the Rakhine State. It brings in the historical trajectory of Muslim settlements in this region dating back to the eighth century when Arab traders first anchored in the northern Arakan state and settled down there. Among other things, it also critically engages in the debate on whether the emergence of Muslims in Arakan laid down the foundation of Rohingya ethnicity or whether becoming Rohingya was tied to their distinctive social practices, cultural heritage, and continuity of a particular ethnicity. Towards this objective, this chapter explores the historical chronology of different political upheavals that have gradually pushed them to the margin of the state.

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Steinberg, David I. "The Nature of Burmese Politics". In Burma/Myanmar. Oxford University Press, 2013. http://dx.doi.org/10.1093/wentk/9780199981687.003.0009.

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The generalizations that follow—as difficult to form as they are necessary if we are to gauge and anticipate the country’s prospects—should not be interpreted as either rigid or deterministic. They lie along a spectrum, one in the eyes of this writer, and are tendencies that...

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Searle, Mike. "Extruding Indochina: Burma, Vietnam, Yunnan, Thailand". In Colliding Continents. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199653003.003.0017.

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Geographically, Indochina consists of the South East Asian countries Thailand, Laos, Cambodia, and Vietnam. Geologically, Indochina includes all the land bounded by two very large-scale strike-slip faults—the Sagaing fault, which runs down the length of Burma, and the Red River fault, which extends more than 1,100 kilometres from the south-eastern corner of Tibet south-east through Yunnan and North Vietnam to Hanoi and the Gulf of Tonkin. Both faults are active, and show that Indochina is moving south-east relative to both the Burma micro-plate to the west and the South China block north of the Red River fault. The unresolved questions were how far Indochina was extruding away from the India–Asia collision zone and when these faults became active. The eastern margin of the Indian plate lies along the Burma–Andaman– Sumatra–Java trench, where the Indian oceanic plate is subducting beneath the great island arc chain of Indonesia. Behind the island arc, a new oceanic basin has formed in the past 5 million years, with basaltic ocean crust forming along a small active spreading centre in the Andaman Sea. The northern extension of the Andaman trench extends into the Arakan-Yoma Hills of western Burma, but the nature and location of the transition from oceanic lithosphere beneath the Bay of Bengal to continental lithosphere in Burma is poorly known. In the south of Burma, where the Irrawaddy River drains into the Andaman Sea, a vast delta has built up with over 10 kilometres’ thickness of sediments eroded off the mountains of Burma. The Sagaing fault continues offshore and is connected to the young oceanic spreading centre in the Andaman Sea. In northern Burma the fault passes close to the cities of Meiktyla and Mandalay and then splays into several branches that terminate in the Jade belt and other mountain ranges that ripple northwards towards the eastern Himalayan syntaxis. Burma is a hauntingly beautiful country of serene landscapes, golden pagodas, green rice fields, range upon range of distant hills, teak forests, and wide muddy rivers. It is also a land of great mineral riches.

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McCall Howard, Penny. "From Wullie’s Peak to the Burma". In Environment, labour and capitalism at sea. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526114563.00011.

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Trabalhos de conferências sobre o assunto "Burma in art"

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Keisuke, Huziwara. "Devising an Orthography for the Cak Language by Using the Cak Script". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.16-4.

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Cak (ISO 639-3 ckh) represents a Tibeto-Burman language spoken in the Chittagong Hill Tracts, Bangladesh. The language is known as Sak in Rakhaing State, Burma. The total number of native speakers of the language is estimated at approximately 3,000 in Bangladesh and 1,000 in Burma (Simons and Fennig eds. 2017). Although Cak and Sak are mutually understandable where native words are concerned, comprehensibility becomes arduous with Bangla loan words in Cak, and with Arakanese/Burmese loan words in Sak. Until recently, Cak/Sak did not have a script of its own. However, by the beginning of the 21st century, the Cak script was developed and finally published as Ong Khyaing Cak (2013), in which its fundamental system is described. Although well designed overall, the current Cak writing system found in Ong Khyaing Cak (2013) has several shortcomings. Huziwara (2015) discusses the following five instances: (a) No independent letter for /v/, (b) unnecessary letters for the non-phonemic elements such as the voiced aspirated stops and the retroflexes, (c) the arbitrary use of short and long vowel signs, (d) a frequent omission of high tone marks in checked syllables, and (e) multiple ways to denote coda consonants. In this paper, Huziwara (2015) will first be reviewed. Then, the basic phonetic correspondences between Cak in Bangladesh and Sak in Burma will be examined. Finally, based on these two discussions, an orthography to be employed in the forthcoming Cak-English-Bangla-Burmese dictionary, a revised version of Huziwara (2016), will be demonstrated.

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Everest, Bengü, e Murat Yercan. "Cooperative Members’ Participation Status and Trends to Cooperative Management: Case of Regional Union of Agricultural Credit Cooperative in Balıkesir". In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01762.

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Cooperatives are organizations that are managed by partners. The behavior and approaches of the partners related to cooperative management affect the success of the cooperative. This study aimed to determine the following; level of awareness about the cooperative management of members, tasks take trends in the cooperative management who didn’t take task in the cooperative management, members participate in the cooperative management. The data were obtained by face-to-face interviews with the 367 cooperative members in Balıkesir, Bursa and Çanakkale province. Participation of members in the cooperative management of the situation revealed non-parametric statistical methods, logistic regression analysis method and fuzzy paired comparison method were used. 56,25% of the members think as, "states should be effective in reaching decisions on the cooperative". According to logistic regression analysis young partners tend to think that way than older partners. Only 20% of members who didn’t take task in the cooperative management, want to take task in the cooperative management in future. These members follow-up agricultural meetings and use internet for reach agricultural information. 45% of members joined last cooperative management meeting. According to fuzzy paired comparison method, the most influential factor in the choose management decision is “to trust management candidate”.

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Gómez Cremades, Ana María. "Síntesis, dibujo y forma de los “teatros personales” de Cezary Bodzianowsky: el gag visual como estrategia del discurso contemporáneo". In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9578.

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Indiscreta y avasallada por las nuevas tecnologías, además de brindar riqueza visual y multiculturalidad, la imagen controvierte y excede el imaginario colectivo. El problema, explica Fontcuberta en La cámara de Pandora (2010), es que «de tanto ver, ya no vemos nada: el exceso de visión, conduce a la ceguera por saturación». La desproporción visual puede efectivamente enturbiar la visibilidad y el entorno, pero lo más relevante y significativo es la manera en cómo la gestionamos. En el convencimiento de que en el contexto actual hace falta más sentido del humor y risas, este artículo nos acerca a la sátira del escenario cotidiano a través del arte. Así, tomando como punto de partida una de las figuras que más representa, dice y desdice del factor humano, el payaso, nos proponemos trazar los probables y posibles de lo que parece convertirse en una nueva estrategia discursiva: el gag visual. Entre la payasada y el silencio de sus pantomimas, los teatros personales del artista polaco Cezary Bodzianowsky nos inducen a reflexionar lo acostumbrado. Consciente de que el imaginario popular mueve y conmueve, concluye, burla y perturba el circo contextual contemporáneo, la travesura visual de Bodzianowsky nos invita a parar, a detener el tiempo y los sentidos. Mientras el exceso nos excede y abruma, en el análisis de su obra descubrimos la síntesis performativa y descaro de un personaje universal que devora el desatino cotidiano. Comprometido con el desarraigo y cultura objetual contemporánea, Bodzianowsky gestiona la absurdidad del comportamiento social. Hábil estratega de todas esas relaciones humanas y materiales que la obra burlesca utiliza como moneda de cambio, lo concreto y la pausa más que el exceso y la prisa, nos invitan en su discurso a especular el entorno de manera más comprometida.

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Arora, Rahul D. "Definition, etiopathogenesis, management and role of flouroquinolone prophylaxis in prevention of spontaneous bacterial peritonitis complicating malignant ascites". In 16th Annual International Conference RGCON. Thieme Medical and Scientific Publishers Private Ltd., 2016. http://dx.doi.org/10.1055/s-0039-1685345.

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Background: Malignancy related ascites encompasses multiple etiologies which include peritoneal carcinomatosis, hepatic synthetic dysfunction due to parenchymal involvement by the tumour, transcoeloemic metastasis and chylous ascites due to lymphatic obstruction. Primary Cancer type, liver metastasis and serum albumin have been listed as independent prognostic markers in malignant ascites. Spontaneous Bacterial Peritonitis is usually seen as a complication of decompensated chronic liver disease due to translocation of bacteria or haematogenous dissemination from a distant focus of infection. The combination of a positive peritoneal fluid culture and an ascitic fluid neutrophil count >250 cells/mm3 and no evidence of intra-abdominal source of infection; or 2) culture negative neutrocytic ascites: the combination of negative peritoneal fluid bacterial culture and neutrophil count >500 cells/mm3, without antibiotics within 7 days with no obvious source of infection are used to define spontaneous bacterialperitonitis. Ciprofloxacin prophylaxis has been proposed as a prophylaxis to reduce the incidence and prevent the recurrence of spontaneous bacterial peritonitis. Materials and Methods: A web search of indexed literature was carried out articles containing information on spontaneous bacterial peritonitis in the setting of malignancy or malignancy related ascites or malignant ascites. Articles that carried relevant information about etiopathogenesis, management and translational research in the context of malignant ascites were also included. Results: A total of 32 articles were analysed and about half of them included in the discussion to answer the research question. Discussion: Inflammatory cytokines released by tumor and immune cells compromise the mesothelial cell layer that lines the peritoneal cavity, exposing the underlying extracellular matrix to which cancer cells readily attach leading to formation of spheroids which imparts resistance to anoikis, apoptosis and chemotherapeutics leading to efficient feed forward progressive cycle of seeding and growth of peritoneal metastasis. Intraperitoneal metastasis can cause peritoneal dysfunction, adhesions and malignant ascites. Epithelial mesenchymal transistion and myofibroblastic transformation occur in the mesothelial cells in response to pathological stimuli. Vascular endothelial growth factor is an important mitogen for endothelial cells and plays an important role in increasing capillary vascular permeability. In preclinical studies systemic administration of VEGF Trap which acts as a decoy receptor for VEGF has shown to decrease the formation of ascites fluid and prevent tumour dissemination. Epithelial ovarian cancer cells have developed various mechanisms to evade immune surveillance like development of surface microvesicles which contain CD 95 ligand leading to apoptosis of immune cells. Higher levels of osteoproteogerin, IL 10 and leptin in the ascitic fluid have been associated with a poor prognosis in malignant ascites. Tethered bowel sign and presence of fluid in the omental bursa on CT have been shown to distinguish between malignant ascites and Cirrhotic ascites with accuracy. Immunological approaches to management of malignant ascites include use of intraperitoneal triamcinolone, interferon, long acting synthetic corticosteroids and the trifoliate antibody catumaxomab. VEGF Inhihibitors like octreotide and long acting depot preparations of lanreotide have also been shown to be feasible therapeutic options. Anti androgenic agents and PARP inhibitors have also been proposed as management options. Spontaneous bacterial peritonitis in the setting of malignancy in the absence of hepatic dysfunction has been reported to have a poorer prognosis than SBP in the setting of decompensated liver disease. Monomicrobial and polymicrobial bacterascites have been proposed in the absence of an elevated neutrophil ascitic fluid count that does not meet the diagnostic criteria. Extensive liver metastasis where the diseased liver can be expected to behave like a cirrhotic liver and gastrointestinal bleeding (on the basis of an isolated case report) have been considered as risk factors for the development of SBP in malignant ascites. In a case series of 8 patients with malignancy related ascites Patients with total ascitic fluid concentration of less than 1 gm per litre were found to be at risk for Spontaneous bacterial peritonitis and warrant flouroquinolone prophylaxis. Conclusion: Spontaneous Bacterial Peritonitis complicating malignant ascites is questionable entity. Good quality Audits and Randomised control trials are warranted to in this domain to enable the definition of incidence, antecedent complications, management and prophylaxis to ensure applicability of translational research to the clinical domain.

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